Say goodbye to Dillon in the beautiful series finale
Well, damn it. "Friday Night Lights" is over. Earlier today I posted my breakdown of my favorite moments of the series, and you can also read my interview with showrunner Jason Katims about the ups and downs of the series, and Fienberg and I also recorded a podcast looking back over the whole series. And my review of the series finale coming up just as soon as I make it clear that it's not incest...
Emmy nominated drama is done after two seasons
A fun flashback episode and showcase for Aldis Hodge
I write about a lot of TV shows, but there are many more that I watch but don't write about, either due to lack of time, bulk viewing (I tended to marathon "The Good Wife" a lot in season 1, for instance) or simply because there's just not enough meat there to justify episode-by-episode analysis. ("Burn Notice" is a show that I think has slipped into that territory, even though I still enjoy it.)
One of those often-watched, rarely-reviewed shows is "Leverage," and for once I'm a bit ahead of the game, having seen a screener of Sunday night's episode, titled "The Van Gogh Job." It's a notable episode for a few reasons.
Your humble writer turns photographer on the AMC drama's set
"Breaking Bad" preview week is almost at an end. As mentioned ad nauseum already, I went to the show's set in Albuquerque a few months ago to conduct some interviews, and also got an opportunity to tour the show's set and snap some pictures along the way. We have a whole gallery of them up, so go look and enjoy, and I can't wait to talk about the premiere with y'all on Sunday night.
How much monster is there inside Walter White?
Here's the second of my video interviews from when I visited the "Breaking Bad" set a few months ago, this time with star Bryan Cranston. (Previously, I posted my Aaron Paul interview and my review of the new season, which is fantastic.)
Cranston and I had a nice little chat about the ins and outs of Walter White, starting off with me bouncing my interpretation of the character off him and Cranston politely disagreeing. It's a good conversation, but as I said with the Paul interview, my cinematography left something to be desired. (I tried to hire Michael Slovis, but he was outside my budget.) So if the shaky-cam bothers you, by all means just listen while opening a second browser window to look at pictures of dogs using computers.
A drama that felt so real that it hurt more when it didn't
(Note: This article was originally published in February, when the "Friday Night Lights" finale was about to air on DirecTV. That finale will re-air, in a 90-minute timeslot, tonight at 8 on NBC.)
In the second season premiere of "Friday Night Lights," one of the show's high school characters killed a man who had just tried to rape the girl he liked. Then he and that girl conspired to hide the body and cover up the crime.
This upset people, on a level I haven't often seen even for the biggest of shark jumps. (Heck, even I flipped out about it.) How on Earth, the consensus seemed to be, could a show this good do something this stupid? How dare they ruin this show with this silliness?
That the anger and disbelief over this storyline were so intense is, in an odd way, a testament to the brilliance of the four seasons of "Friday Night Lights" that didn't involve murder and Mexican threesomes and weird age-inappropriate affairs and a meth dealer obsessed with ferrets. People were so furious and dismayed because the show to that point (and almost as soon as that season was put to rest) had been so great - and, more importantly, because it had felt so real.
Louie gets a lesson in comedy from Joan Rivers
Dan and Alan find more to be happy with than to complain about with this year's nods
Welcome to the second of this week's two Firewall & Iceberg Podcast installments (three if you want to count the all-"Friday Night Lights" podcast Dan and I recorded in the winter, and that you can listen to safely after the finale airs on NBC tomorrow night), which was almost entirely focused on today's Emmy nominations. The run-down:
Also has some blunt talk about Nick Offerman's non-nomination
For the second year in a row, Amy Poehler is an Emmy nominee for her work on "Parks and Recreation." But she's much less excited about that than about the fact that the show itself was nominated for Outstanding Comedy Series. I got on the phone with Poehler for a few minutes to talk about the nominations, about co-star Nick Offerman being snubbed again, and what her unconventional plan is to win the darned trophy this year.
'Justified,' Louis C.K. and some other surprise nominees outweigh the annoying ones
The glass half-empty view of the 2011 Emmy nominations (the full list is here): NBC's ridiculous "Harry's Law" now has as many nominations as "The Wire" ever got, and AMC's maddening "The Killing" now has three times as many nominations as "The Wire" ever got, while NBC's audacious, hilarious "Community" didn't get a single nomination for the second year in a row.
The glass half-full view of the 2011 Emmy nominations: "Friday Night Lights" and "Parks and Recreation" (aka the best drama and comedy on network TV) were nominated for best drama and comedy, all the "Justified" castmembers who should have been nominated were (even though FX has an uneven track record with the Emmys), and Louis C.K. somehow got nominated for acting, writing and editing (albeit not all for the same show).
In other words, the Emmy voters are always going to do annoying things - especially in the nominating process, which leads to complacent thinking because no one has to have watched anything - but if you go into things prepared to grit your teeth, this year's Emmy nominations had more things to be pleasantly surprised about than things to incite a fist shake at the heavens.